沸母、度母、明妃、空行母等,大都是藏密中的女性菩萨形象。其种类和数量均很多,但有的看上去美丽善良,体态柔和、均称;有的看上去妖媚粗俗,体态夸张、放纵;更有的狰狞丑陋,体形怪异、狂放。其实在这些美、丑、善、恶的形象背后,却潜藏着至高的佛理。如果我们避开宗教的理念,仅从艺术的观点分析,由于佛与菩萨的相好和繁琐的量度规定,加之汉文化后期不厌其繁的装饰追求的影响,反而是这类造像更显珍贵、更具魅力、更富于民族特色和人文主义的精神。尤其是这些女性的形象,无论是体貌表现力的完美程度,还是内在精神力量所表达出的张力,都深刻地传递出这一高原民族沉厚的文化底蕴、丰富的情感世界、动人的想象才能、澎湃的艺术创作激情。但从宗教意义上讲,这些女性形象的圣众本不属于同一类别。譬如,在密宗供养的曼荼罗中,佛母的地位仅次于本尊、祖师,在般若佛之上,而空行母的地位最低,只相当于世间护法。本文为方便读者辨识,将这些女性化的圣众汇集在一起叙述。 Boiler mother, degree mother, Ming Fei, empty mother, mostly Tibetan woman in the image of Buddha. The types and quantities are many, but some look beautiful and good, soft body, both said; some look seductive vulgar, body exaggerated, indulgent; more ogle 狞 ugly, strange shape, wild. In fact, behind these beautiful, ugly, good and evil images, they lurk the highest Buddhism. If we avoid the concept of religion, we can only analyze it from an artistic point of view. Due to the good and tedious rules of Buddhism and Bodhisattvas and the influence of numerous decorative pursuits in the late Han culture, such statues are even more precious. Attractive, more full of national characteristics and humanism. In particular, the image of these women, both the perfect degree of physical expression and the tension expressed by the intrinsic spiritual force, profoundly convey the profound cultural heritage of this plateau nation, the rich emotional world, and the touching imagination Passion for artistic creation. However, in a religious sense, the sacraments of these female images do not belong to the same category. For example, in the Tantric Mandalas, the status of the Buddha’s mother is second only to that of the deity and patriarch, which is above Prajna, while the status of the blank mother is the lowest. It is only the equivalent of worldly law enforcement. This article is for the convenience of readers identification, the feminine of the holy congregation brought together to narrate.